Pub Date : 2022-09-01DOI: 10.1525/ncl.2022.77.2-3.179
R. Menke
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Pub Date : 2022-09-01DOI: 10.1525/ncl.2022.77.2-3.124
S. Kinzinger
Stephanie Kinzinger, “Embodied Cognition in Edgar Allan Poe: Eureka’s Cosmology, Dupin’s Intuition” (pp. 124–144) This essay argues that Edgar Allan Poe’s Eureka (1848) anticipates contemporary cognitive science’s theories of embodied cognition, particularly the notion that individuals’ minds and bodies are inextricable from their environments. Eureka’s cosmology of environmental entanglement, furthermore, surprisingly elucidates detective Auguste Dupin’s uncanny “intuitive” knowledge, as imbrication with cosmic processes affords limited, temporary access to extrapersonal knowledge. Dupin, I contend, capitalizes on the interconnectedness of mind and body, self and environment to attune himself to others, and in the process enacts a precursive version of “social mirroring.” However, along with the enabling possibilities inherent in such interconnectedness, Poe also illuminates its ontological dangers, as Dupin when intuiting transforms into a semi-abstracted self and loses some of his discrete individuality—without going as far as Poe’s mesmerists, whose complete opening to the universe’s extrapersonal forces leads to their annihilation as individual beings. I argue that such dangers shadow not only nineteenth-century transcendentalism’s cosmic egotism but also twenty-first-century cognitive science’s therapeutic agenda.
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Pub Date : 2022-09-01DOI: 10.1525/ncl.2022.77.2-3.93
Daniel Jenkin-Smith
Daniel Jenkin-Smith, “A Tale of Two Bureaucracies: The Formal Development of Mid-Nineteenth-Century French and British Office Novels” (pp. 93–123) The history of British and French society over the long nineteenth century can be framed as two contrasting histories of bureaucratization. In France, a “rational” body of organizational rules and procedures coalesced quickly around the state, taking their paradigmatic form during the First Republic and Empire (1792–1814) but stagnating thereafter. In Britain, these structures developed piecemeal, and over a longer time, gaining relative coherence by the midcentury. In both cases, however, office work became a major social, ideological, and cultural phenomenon, one that warranted literary portrayal despite its apparent unconduciveness to conventional narrative forms. In this article I illustrate the shifting character of “office novels” within these contexts, and I accordingly operate from both a comparative and a longitudinal perspective: comparing novels from France and Britain produced during the midcentury period (pivotal in the history of bureaucracy and of the novel) that focus on office life. I argue that the changing role of the office career between William Makepeace Thackeray’s abortive office Bildungsroman The History of Samuel Titmarsh (1841) and Anthony Trollope’s The Three Clerks (1858) reflects the reform, saturation, and ideological legitimation of bureaucratic forms in Britain over this period. Meanwhile, the transition from Honoré de Balzac’s highly reflexive satirical novel Les Employés (1844) to Émile Gaboriau’s office-hopping Picaresque Les Gens de Bureau (1862) reflects an increasing jadedness in France about the ability of these structures to change.
丹尼尔·詹金·史密斯，《两个官僚的故事：19世纪中期法国和英国办公室小说的正式发展》（93–123页）英国和法国社会在漫长的19世纪的历史可以被视为两个截然不同的官僚化历史。在法国，一个“理性”的组织规则和程序体系在国家周围迅速融合，在第一共和国和帝国时期（1792-1814）形成了典型的形式，但此后停滞不前。在英国，这些结构是零散发展的，并在更长的时间内发展起来，到本世纪中叶获得了相对的一致性。然而，在这两种情况下，办公室工作都成为了一种主要的社会、意识形态和文化现象，尽管它与传统的叙事形式明显不兼容，但仍有必要进行文学刻画。在这篇文章中，我阐述了“办公室小说”在这些背景下不断变化的特征，因此我从比较和纵向的角度进行了操作：比较法国和英国在本世纪中叶（官僚制度和小说史上的关键时期）创作的以办公室生活为中心的小说。我认为，在威廉·马克皮斯·萨克雷（William Makepeace Thackeray）流产的办公室成长小说《塞缪尔·蒂特马什的历史》（1841年）和安东尼·特罗洛普（Anthony Trollope）的《三个办事员》（1858年）之间，办公室职业生涯的角色变化反映了这一时期英国官僚形式的改革、饱和和意识形态合法化。与此同时，从奥诺雷·德·巴尔扎克（Honoréde Balzac）的高度反思性讽刺小说《雇佣者》（Les Employés，1844年）到埃米尔·加布里奥（Émile Gaboriau）的《局中人》（Picaresque Les Gens de Bureau，1862年）的转变，反映出法国对这些结构的改变能力越来越厌倦。
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Pub Date : 2022-08-09eCollection Date: 2022-01-01DOI: 10.3389/fopht.2022.902821
Fabienne C Fierz, Leah R Disse, Christopher J Bockisch, Konrad P Weber
Pharmacological testing with apraclonidine eye drops induces a typical reversal of anisocoria in patients with Horner's syndrome. Moreover, apraclonidine was observed to have an elevating effect on the upper eyelid in Horner's syndrome as well as in healthy subjects, which is thought to be mediated by alpha-1 adrenergic receptors present in the Muller's muscle. We aim to quantitatively investigate the effect of apraclonidine on eyelid position in patients with Horner's syndrome compared to physiological anisocoria based on infrared video recordings from pupillometry. We included 36 patients for analysis who underwent binocular pupillometry before and after apraclonidine 1% testing for the evaluation of anisocoria. Vertical eyelid measurements were taken from infrared videos and averaged from multiple pupillometry cycles. Receiver operating characteristic curves were calculated to determine the optimal cutoff value for change in eyelid aperture pre- and post-apraclonidine. A decrease of inter-eye difference in the aperture of >0.42 mm was discriminative of Horner's syndrome compared to physiological anisocoria with a sensitivity of 80% and a specificity of 75%. Our data confirm an eyelid- elevating effect of the apraclonidine test, more pronounced in eyes with a sympathetic denervation deficit. Measuring eyelid aperture on pupillometry recordings may improve the diagnostic accuracy of apraclonidine testing in Horner's syndrome.
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Grace Rexroth, “Byron and the Problem with Memory Arts: Writing Don Juan for an Age of ‘Uncertain Paper’” (pp. 1–28) In the first canto of Don Juan (1819–24), George Gordon, Lord Byron describes Juan’s mother as a woman whose memory needs no artificial aid: “Her memory was a mine. …For her Feinagle’s were an useless art.” The mention of “Feinagle” is a reference to a memory system designed by Gregor von Feinaigle, outlined in a book titled The New Art of Memory (1812). While the reference might appear insignificant, I argue that concerns about memory and mnemonic arts actually animate Byron’s poem. I view Feinaigle as a touchstone for a set of memory practices that proliferated into what Blackwood’s Edinburgh Magazine would later decry as an “explosion of mnemonics.” As the print landscape of the Regency era rapidly expanded, such systems promised to help readers deal with the resulting information overload by helping them to remember everything they read. Set within this context, Don Juan seems to respond to the same anxieties that animated the fad for mnemonics. However, rather than attempting to help readers remember everything, Byron foregrounds the question of what should be remembered and why—especially when it comes to memorializing war. In this way, Don Juan becomes an alternative Romantic memory palace animated by a cultural anxiety about how to read and recall what the powers-that-be would have us forget.
Grace Rexroth，“拜伦与记忆艺术的问题：为‘不确定的纸’时代书写唐璜”（第1-28页）在唐璜（1819-24）的第一首大合唱中，George Gordon，拜伦勋爵（Lord Byron）将胡安的母亲描述为一个记忆不需要人工帮助的女人：“她的记忆是一颗地雷……对她来说，费纳格尔的记忆是一门无用的艺术。”提到“费纳格尔”是指格雷戈尔·冯·费奈格尔（Gregor von Feinaigle）设计的记忆系统，该系统在一本名为《记忆的新艺术》（The New art of memory，1812）的书中概述。虽然这一提法可能显得微不足道，但我认为，对记忆和记忆艺术的关注实际上激发了拜伦诗歌的活力。我认为Feinaigle是一系列记忆实践的试金石，这些记忆实践后来被布莱克伍德的《爱丁堡杂志》谴责为“助记符的爆炸”。随着摄政时代的印刷业迅速扩张，这些系统承诺通过帮助读者记住所读到的一切来帮助他们应对由此产生的信息过载。在这种背景下，唐璜似乎回应了同样的焦虑，这些焦虑激发了助记符的流行。然而，拜伦并没有试图帮助读者记住一切，而是强调了应该记住什么以及为什么要记住的问题——尤其是在纪念战争时。通过这种方式，《唐璜》成为了一座另类的浪漫主义记忆宫殿，它被一种文化焦虑所激发，这种焦虑是关于如何阅读和回忆未来的力量会让我们忘记什么。
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Pub Date : 2022-06-01DOI: 10.1525/ncl.2022.77.1.29
M. Redmond
Matthew Redmond, “Living Too Long: Republican Time in Cooper’s Leatherstocking Novels” (pp. 29–55) This essay first suggests that antebellum America’s cultural imagination was organized around patterns of generational succession unfolding across what I call “republican time,” and then explores the ways that James Fenimore Cooper’s Leatherstocking novels cross-examine and destabilize that pattern. Reading The Pioneers (1823), The Last of the Mohicans (1826), and The Prairie (1827) through the dual lenses of biopolitical criticism and temporality studies, I treat Natty Bumppo, with his stubborn refusal to die or even fully subside into the background of American life, as a friction against the machine of republican time and the idea of steady national progress it implies. With his peculiar perspective on national events, manifesting in a singular use of grammar, Natty’s character opens to Cooper’s readers certain alternative approaches to being in American time. Cooper’s writings thus demonstrate some of the ways that nineteenth-century American historical fiction, far from uncritically celebrating the forces of U.S. expansionism and imperialism, delivers an incisive critique of them.
Matthew Redmond，《活得太久：库珀皮革库存小说中的共和党时代》（第29-55页）这篇文章首先表明，南北战争前美国的文化想象是围绕着我所说的“共和党时代”中的代际继承模式而组织的，然后探讨了詹姆斯·费尼摩尔-库珀的皮革库存小说如何交叉审视和破坏这种模式图案通过生物政治批评和时间性研究的双重视角阅读《开拓者》（1823）、《最后的莫西干人》（1826）和《草原》（1827），我将纳蒂·邦波顽固地拒绝死亡，甚至拒绝完全融入美国生活的背景，视为与共和时代机器及其所暗示的国家稳步进步理念的摩擦。纳蒂的角色以其对国家事件的独特视角，表现为对语法的独特使用，向库珀的读者打开了在美国时代的某些替代方法。因此，库珀的作品展示了19世纪美国历史小说对美国扩张主义和帝国主义力量的深刻批判，而不是不加批判地赞美。
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Pub Date : 2022-06-01DOI: 10.1525/ncl.2022.77.1.56
Wanne Mendonck
Wanne Mendonck, “‘I Sort Rather with Those who Do Not Read’: Edward Carpenter, the Religion of Socialism, and the Prophetic Agitation of Literary Form” (pp. 56–90) Edward Carpenter’s prose poem Towards Democracy (1883) constructs “new forms” to frame a radical voice that helped shape the British “socialist revival” of the 1880s and 1890s. Formal questions, however, have often been skirted in relation to Carpenter, or referred to his reputation as a disciple of Walt Whitman. This article argues, by contrast, that they can be productively asked in relation to a prophetic understanding of individual political and artistic agency, Carpenter’s working out of which is illustrated via his early play Moses (1875). Carpenter’s hybrid lyrical-narrative poetry is shaped by a deeply anxious self-consciousness about its political-spiritual duties, which expresses itself in a form that attempts to cancel out its own formalism. Its prose rhythms and hyperquotidian diction strain toward an immediacy that ultimately chafes against its own textuality. Only thus can Carpenter attain to the spontaneity and “inescapability” that support an understanding of pioneering, prophetic authorial agency that is at the basis of his conceptualization of politics, evolution, and queer sexuality. His poetry desires to intervene in the extratextual but is intratextually “agitated” by anxiety about the political viability of its own (counter)cultural authority and texture. This reading opens newly expansive ways of understanding Victorian literary form in its dialogic relationship with the political, arguing for a dynamic understanding that regards even the most experimental of late-nineteenth-century socialist poetry as responding to, and resisting, dilemmas of discursive authority and intelligibility implied by an embedded authorial model.
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Pub Date : 2022-03-01DOI: 10.1525/ncl.2022.76.4.455
Ji Eun Lee
Ji Eun Lee, “Wooshing London: Unsettling Acceleration in H. G. Wells’s Tono-Bungay” (pp. 455–490) This essay reads H. G. Wells’s Tono-Bungay (1909) in the context of “wooshing” London—I take the word from the story—to see how the unsettling effect of this rapid urban mobility translates into the generic form of the novel. At the turn of the twentieth century, London was wooshing—that is to say, people and things in the city were moving by being displaced into a rushing flow, unprepared and unconnected, as the city was taken by revolutionary forms of urban transportation such as pneumatic and electric tubes, trams, elevators, escalators, motor buses, and cars. The word “woosh,” which was first used around the time that this mobility came into being, denotes a quick rushing movement based on hydraulic flow, and linguistically it functions as an interjection or a void in the semantic and syntactic flow of a sentence. Tono-Bungay shows different modes of unsettlement pervading London such as the whirlpool, passing stream, and flood. Yet it presents “woosh”—the way in which the patent medicine Tono-Bungay works and moves in commerce—as the ultimate mode of unsettlement that disconnects and displaces the locus of movement. Likewise, in Tono-Bungay, there is no locus of agency in the process of urban walking or in the reading process disrupting the narrative syntax. By emptying out the individual locus in the disconnecting, accelerating flow of his narrative—as London does in its urban mobility—Wells revises the genre into a form that embodies the city’s unsettling power.
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Pub Date : 2022-03-01DOI: 10.1525/ncl.2022.76.4.403
C. Schwab
Christiane Schwab, “Sailors, Book Hawkers, and Bricklayer’s Laborers: Social Types and the Production of Social Knowledge in Nineteenth-Century Periodical Literature” (pp. 403–426) This essay explores how the modern obsession with systems of human classification manifested and spread in an increasing market of periodical literature in nineteenth-century Europe. It examines the various epistemic and rhetorical techniques of social typification developed in “sociographic” sketch writing, focusing on examples from the multiauthored serials Heads of the People; or, Portraits of the English (1840–41) and Les Français peints par eux-mêmes (1840–42). The essay claims that, by combining depictions of social types with political commentary, economic and sociohistorical considerations, and satirical allusions, the epistemic-narrative strategy of typecasting met the educational and entertainment needs of a growing reading public. It furthermore evaluates the works of investigative reporters such as Henry Mayhew and Angus Bethune Reach as interfaces between journalistic-literary and “scientific” ways of social study. The essay aims to stimulate an understanding of literary typecasting as a sort of “popular sociology” by interpreting the popularity of typecasting in the context of an increased interest in social structures on the verge of modernity, expressed in prose and arts as well as social thought.
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Pub Date : 2022-03-01DOI: 10.1525/ncl.2022.76.4.491
Scott D. Hess
{"title":"Review: Picturesque Literature and the Transformation of the American Landscape, 1835–1874, by John Evelev","authors":"Scott D. Hess","doi":"10.1525/ncl.2022.76.4.491","DOIUrl":"https://doi.org/10.1525/ncl.2022.76.4.491","url":null,"abstract":"","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45046887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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